I kick this solo off with a brief reference to Gdim7 by playing the b3, Bb, and the 6th, E, together, before moving into descending two-note barres ala Chuck Berry and T-Bone Walker. I follow this two-note adjacent thirds approach by switching to two-note sixths, ala Steve Cropper, staying diatonic to (within the scale structure of) the G mixolydian mode (G A B C D E F). At the five chord, D7, I begin with sixths based on D mixolydian (D E F# G A B C) but then immediately switch to descending thirds, and wrap up with lines based on G major pentatonic (G A B D E) on the return to the tonic, G7. Notice the subtle use of hybrid picking, wherein the lower string is sounded with the pick and higher string is sounded with a fingerpick.